The Yeşil Mosque is a structure located in Bursa and is considered one of the most important examples of early Ottoman architecture. As the first capital of the Ottoman Empire, Bursa was home to numerous architectural masterpieces. Among these works, the Green Mosque is one of the most distinctive examples of Ottoman architecture, both aesthetically and symbolically. Built in the early 15th century, the mosque is more than just a place of worship; it reflects the artistic sensibilities, political messages, and architectural structure of the period.
Yeşil Mosque (Kültür Portalı)
Construction Process and Architectural Structure
Yeşil Camii was commissioned by Çelebi Sultan Mehmed between 1414 and 1419, and its architect was Hacı İvaz Pasha. The construction coincided with a period when the Ottoman Empire was emerging from the “Fetret Devri” and attempting to recover. Therefore, Yeşil Camii also serves as a symbol representing the political stability and cultural revival of the Ottomans.
Yeşil Camii belongs to the group of “reverse T” plan mosques. This plan type, unique to the early Ottoman period, is defined by domed sections symmetrically located on either side of the central space. The mosque is covered with two large domes. The monumental portal on the northern façade is one of the historical examples of stone carving. Adorned with muqarnas canopies and geometric decorations, the portal demonstrates the development of stone art in the Ottoman Empire.
Technical Features and Motif Layout
The tiles used in Yeşil Camii were produced with the “underglaze painted tile technique” and feature cobalt blue, turquoise, black, olive green, and occasionally brown tones. The tiles were made from a quartz-rich body with a high silica content, fired at high temperatures. With an exceptionally high quartz ratio, these tiles have been referred to in ceramic literature as “impossible-to-produce ceramics,” a factor that enhances their physical durability and optical brilliance. The glaze used is a transparent, lead-based glaze that protects the paint beneath and ensures the clarity of the design.
The motifs are mostly geometric and vegetal in origin. In the muqarnas mihrab, motifs such as “rumi,” “palmet,” “lotus,” “hatayi,” “penç,” and “cloud” belong to classical Islamic art but have been rearranged with Ottoman aesthetics. Kufic and thuluth calligraphy in the arches and mihrab bands show that the decorative program is not only ornamental but also integrated with the art of writing. The molding borders surrounding the mihrab are in the form of geometric interlace, arranged with interlocking motif sequences. The symmetrical arrangement applied in the tiles serves not merely for aesthetics but also for structural balance.
Layers of Meaning and Symbolism
The meanings of the motifs, when evaluated within the context of Islamic aesthetics, carry symbolic content. For example, palmet and rumi motifs are associated with the concept of infinity and the vision of paradise, while the repetition of geometric order refers to a scheme representing divine order. Floral motifs symbolize the recreation of nature, and the wave pattern alludes to water as the source of life.
This symbolic narrative serves to strengthen the spiritual atmosphere in direct connection with the mosque’s function as a place of worship. However, the tiles are not only valuable for their symbolic meanings but also as significant examples of cultural production within the technological capabilities of the period.
Masters and the Workshop System
The artist of the Yeşil Camii tiles is recorded in sources as Mecnun Mehmet. He is thought to have been responsible for the design and production of many tile panels in the mosque, especially the mihrab. Some technical details in these works differ from classical İznik tile production, indicating the existence of a period-specific workshop system. This workshop applied standardized practices in terms of both architectural compatibility and production quality.
The tiles in Yeşil Camii are not only decorative elements but also meaningful components integrated into the structural integrity of the architecture. With their high-quality materials, systematic motif arrangements, and symbolic expressions, these tiles represent an important turning point in the development of 15th-century Ottoman tile art. They also serve as concrete evidence that early Ottoman aesthetics were synthesized with the existing Anatolian tile tradition to create an original form of expression.
Mihrab (Kültür Portalı)
Minbar, Şadırvan, and Additional Elements
The minbar, covered with a hexagonal wooden cap entirely carved from wood, is decorated with fine motifs and stands as an example of classical Ottoman woodworking. Wood craftsmanship is also evident in the window shutters, galleries, and door wings. These details enhance the art-historical value of Yeşil Camii.
Minbar (Kültür Portalı)
The şadırvan inside the mosque stands out with its fountain carved from a single piece. Its aesthetic form is designed not only as a functional element but also as part of the architectural composition. The decorations, gardens, and other architectural details around the mosque reflect a holistic understanding of art.
Historical and Cultural Value
Important figures such as Evliya Çelebi, Hammer, and Charles Texier have mentioned Yeşil Camii. Texier described it as “the most perfect work of Ottoman sovereignty,” while Hammer noted that the domes and minaret of the mosque were once covered with tiles. These observations show that Yeşil Camii was recognized as an important architectural work not only in its own period but also in later centuries.
Bursa Yeşil Camii is one of the early examples of Ottoman architecture. Its architectural plan, decorative approach, tile art, and stone and wood craftsmanship reflect the art and engineering knowledge of its time. Built by Hacı İvaz Pasha, enriched with the decorations of Nakkaş Ali and the tiles of Mecnun Mehmet, the structure has survived to the present day as an example that exhibits the aesthetic and technical characteristics of Ottoman architecture.
